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Copy 1 Lighting of the 
Christmas Tree 

In the Vassar Series of Plays 
Edited by Gertrude Buck 



Adapted by Josephine L. Palmer and Annie L. 

Thorp, by permission of Messrs. Doubleday, 

Page & Co., from "The Christmas Guest," by 

Selma Lagerlof. 

Samuel French: Publisher 

28-30 West Thirty-eighth St. : New York 

LONDON 

Samuel French, Ltd. 

26 Southampton Street, Strand 
PRICE THIRTY-FIVE CENTS 



The Lighting of the 
Christmas Tree 

In the Vassar Series of Plays 
Edited by Gertrude Buck 



Adapted by Josephine L. Palmer and Annie L. 

Thorp, by permission of Messrs. Doubleday, 

Page & Co., from "The Christmas Guest," by 

Selma Lagerlof. 

Samuel French: Publisher 

28-30 West Thirty-eighth St. : New York 

LONDON '\ 

Samuel French, Ltd. 

26 Southampton Street, Strand 






Copyright, 1917, by Josephine L. Palmer and 
Annie L. Thorp 

Copyright, 1931, by Samuel French 

All Rights Reserved 

"THE LIGHTING OF THE CHRISTMAS TREE" is 
fully protected by copyright, and all rights are reserved. 

Permission to act, to read publicly, or to make any uso 
of this play rnusi: be obtained from Samuel French, 28-30 
West 38 th Street, Nev/ York City. 

It may be presented by amateurs upon payment of a 
royalty of five dollars for each performance, payable to 
Samuel French one Vv-eek before the date when the play 
is given. 

Professional rates quoted on application. 

Whenever this play is produced the following notice 
must appear on all proryrains, printing and advertising for 
the play: Produced by special arrangement with Samuel 
French of New York. 



©C1.D 5 95 39 



y\^^ 



THE VASSAR SERIES OF PLAYS 

Every play in this series has been written by a 
member of the Play- Writing Class at Vassar Col- 
lege. But each play as printed is the product of a 
group-activity. Not merely an individual seated at 
a desk, but a community working together in a 
theater, is responsible for it in its final form. 

Some of these plays have been "tried out" by the 
Vassar Dramatic Workshop and some by the Com- 
munity Theatre of Poughkeepsie, New York. By 
the cooperative efforts of all who were associated in 
these enterprises — actors, committee workers and 
financial supporters — these plays have been given a 
sympathetic and intelligent production before audi- 
ences also intelligent and sympathetic, whose reac- 
tion has afforded the writers much valuable criti- 
cism.. In the prelimiinary readings and rehearsals, 
also, occasional weak points which had escaped the 
ordeal of class criticism came to light and were 
strengthened by the author's revision. In fact, the 
plays as they appear in this series are literally a col- 
laboration of the writers with innumerable friendly 
critics in the play-writing class, the cast and the au- 
dience. And it would be ungracious to put the fruits 
of this collaboration at the service of the public with- 
out grateful acknowledgment to all those who have 
in any way helped to establish and carry on the Vas- 
sar Dramatic Workshop or the Commamity Theatre 
of Poughkeepsie. 

In recent years there has been an increasing de- 

3 



4 THE VASSAR SERIES OF PLAYS 

mand for well-written, dramatically effective one-act 
plays, suitable for production by semi-professional 
companies or by amateur organizations of serious 
purpose and some degree of training. To aid in 
supplying this demand is the purpose of the Vassar 
Series of Plays. Other plays written by members 
of the Play- Writing Class at Vassar College may be 
secured in typewritten form by application to The 
Workshop Bureau of Plays, Vassar College. 

All the plays in this series are protected by copy- 
right. A royalty of five dollars for each production 
must be paid to Samuel French, 28-30 West 38th 
Street, New York City, at least one week before the 
date of the performance. 



LIGHTING OF THE CHRISTMAS TREE 
PRODUCING THE PLAY 

The beautiful Swedish national costumes should 
be used for this play. Any good reference book on 
the costumes of various nations and many books 
about travel in Sweden will furnish illustrations 
that may be copied, varying the colors v/hen neces- 
sary to produce a harmonious relation with one 
another. Since this is a modern play, only the ser- 
vants, who are, of course, peasants, Vv^ould be likely 
to v/ear these costumes on ordinar}^ occasions, but 
members of the upper classes sometim.es assume 
them for the festivities of the Christmas season. 
We may, therefore, take advantage of this possi- 
bility, to increase the picturesqueness of our play 
by using the colorful Swedish dress for all the char- 
acters. 

A real Swedish interior, carefully reproduced from 
trustworthy illustrations, would also be effective. 
Not all the furniture found in any illustration should, 
of course, be used for the stage setting. A few 
pieces only should be chosen, with a view to com- 
posing without unnecessary "clutter" into a beauti- 
ful and characteristically Swedish whole. 

The lines of this play are exceptionally simple in 
their phrasing and yet so full of meaning that no 
word or syllable should be lost by the audience. An 
intelligent, sympathetic rendering of each speech is 
especially im.portant, but clear-cut enunciation and 
a beautiful quality of voice are also very desirable, 
particularly for Olga, Liljekrona and the two chil- 
dren. 

5 



6 LIGHTING OF THE -CHRISTMAS TREE 

01ga is obviously the very heart of this play. She 
makes a charming picture with the little boys oyer 
the Christm.as tree, the candle-lighting in the win- 
dows, and the story of the Christ-Child's wander- 
ings. Her tender love for her home and her instinc- 
tive fear of any influence which may tend to lower 
its ideals or to draw Liljekrona away from it, must 
be so clearly brought out in the acting (as it is in 
the lines) that the audience will understand and 
even partially sympathize with her anxiety to be rid 
of the drunken vagrant, Ruster. 

This anxiety is sharpened by the approach of the 
Christmas season, V\'hich she feels should be cele- 
brated as a beautiful home festival, just by them- 
selves. But even as Olga carries her point and 
Ruster is about to leave the house, she is assailed 
by remorse for the selfish impulse to protect her 
home at the unfortunate old man's expense. This 
should be clearly indicated in the tone and manner 
with which she asks Liljekrona to give Ruster some- 
thing extra for Christm.as and to lend him his fur 
coat. 

The departure of Ruster ends the first stage of 
the play's action, in which Olga has attempted to 
secure happiness for herself and her household by 
the refusal of her hospitality to some one in sore 
need of it. Ruster had seemed to her a discordant 
element v/hen present, but his absence seems to 
bring ten-fold more tmhappiness. All the Christmas 
preparations go wrong. Sigurd's cookie-dough fig- 
ure of the Christ-Child "doesn't look like anything," 
the E string of Liljekrona's fiddle has snapped and 
he has no new one, Torstein has gone to drive Ruster 
and they cannot dance v/ithout him, the sheaves for 
the sparrov/s have been forgotten, and finally Lilje- 
krona withdraws to his owai room to play the stormy 
music which Olga understands as a portent of his 
return to the old life of wandering. 



LIGHTING OF THE CHRISTMAS TREE 7 

In this section of the play, Liljekrona controls 
the action and should dominate the scene. Olga at- 
tempts, in vain, to infuse joy into the Christmas 
observances. Liljekrona's bitterly self-reproachful 
speech about the lonely and the hungry people, — 
''When they pass so close as to touch our sleeve, — 
we do not see them, we do not stop them, but let 
them plod their path alone," — shows that he will no 
longer deceive himself as to the heartlessness of 
their own action. And v/lien he says — "Your can- 
dles are too late. The door is closed. The voice is 
gone," — Olga sees that on the eve of Christmas and 
in the name of its fitting observance, she has be- 
trayed its very spirit of hospitality and kindness. 

The sound of the music from Liljekrona's room, 
full of the old, Vv^ild passion for the open road, 
brings to 01g;a realization of the price she must pay 
for this mistake, "if God does not work a miracle in 
the night." Her intense suffering at this poir:t marks 
the crucial moment in the play and must be con- 
veyed by action and facial expression as well as by 
a poignant rendering of the lines. The moment 
must be held perceptibly, after she sinks into her 
chair, until the sound of sleighbells, at first far off 
and gradually approaching, breaks the spell. 

The bells usher in the third stage of the action, 
which is markedly different in feeling-tone from 
the other two. Instead of the fear and the cloaked 
unkindness of the first scene and the growing self- 
reproach of the secotid, we have the exaltation of 
complete surrender to generous impulse. Olga's 
joy in the "miracle" which she so little deserved or 
expected must shine from her face and from every 
word and action, as soon as she realizes that Ruster 
has indeed returned and she has a chance to repair 
the v/rong she has done. Her inspiration to ask 
Ruster to look after the children while she is out of 
the room should be so acted as to show that there is 



8 LIGHTING OF THE CHRISTMAS TREE 

something behind her simple request. She will 
prove her gratitude for this chance to atone, by 
trusting her dearest treasures to the man she had 
feared to have remain in the house with them. 

The scene of the children with Ruster gives the 
actor an opportunity to show the battered, dissipated 
old man, afraid of the innocent eyes of the children, 
but gradually put at his ease by their complete un- 
consciousness and their real interest in the one thing 
he knows, — flute-playing. Ruster's complete col- 
lapse when the children's absorption in reading al- 
lows him to realize his own desolate situation, and 
Olga's offer to make him their tutor, need only be 
played with entire simplicity and sincerity by both 
actors, to bring tears to the eyes of many people in 
the audience. 

Olga's explanation to Liljekrona of her plans for 
Ruster and why she is taking this great risk, bring 
her once more into a position of leadership. This is 
emphasized by the action, as first Liljekrona, then 
the children and finally Ruster, kiss Olga's hand, 
while her curtain speech to Ruster gives the needed 
touch of humility and graciousness to her exalta- 
tion. 

The curtain should be raised quickly after it has 
been lov/ered, so as to make the tableau of the light- 
ing of the tree seem, as it is, an essential part of the 
play. 

Gertrude Buck. 



CHARACTERS 

Little Ruster : a flute-player. 

Liljekrona: a violinist, host of Lofdala. 

Olga: his wife. 

Oswald ) . . ,. . 

Sigurd \ ^''' ^'^^^^ ^°"^- 

Halla : the cook. 

Torstein : the man-servant. 

First produced by the Vassar Dramatic Work 
shop, December i6, 1916. 



10 



THE LIGHTING OF 

THE CHRISTMAS TREE 



Scene: The living-room of Lofdala, a Swedish 
manor house. It is the afternoon before Christ- 
mas and the room has an atmosphere of com- 
fort and zvarmth; outside it is snozving. To the 
left is a large Swedish fireplace, with its hanging 
black chimney-hood, crane and shining kettles. 
A high zvooden bench, a table and armchair 
are drazmi close to the fire. A heavy, iron- 
hinged door opens outdoors at the center back. 
On either side are windows. At the left a door 
leads into the kitchen, and at the right a flight 
of stairs leads to the bedrooms. By the stairs 
stands a Christmas tree as yet unlighted. There 
is a music cabinet against the back zvall, left; 
and an oblong table at the right; a carved 
wooden chest stands beside the fireplace. 

Time: about 1890. 

Olga is discovered arranging candles on the 
tree. She is slender and moderately tall, with 
large eyes and rich dark hair braided about her 
head. She wears Szvedish holiday dress. 

(Enter Oswald and Sigurd, running dozvnstairs 

with their hands full of cotton. They are six 

and four years old, Oswald being a little the 

taller. They are bright-faced, tow-headed little 

II 



12 LIGHTING OF THE CHRISTMAS TREE 

hoys, and are dressed in their embroidered holi- 
day suits. Oswald stops halfway down, and 
leaning over the banisters drops bits of cotton 
on the tree.) 

Oswald. See, Mother, it's snowing. 

Sigurd. Look, Mother — it's snowing. (Turns at 
the foot of the stairs and runs back to Oswald. j 

Oswald. Don't make such big- flakes, Sigurd. 

Sigurd. But I'm making it snow hard. 

Oswald. Oh, look, that fell on a candle. 

Olga. We need some more snow over here. 
Come down and make it snow on these branches. 

Oswald. But, Mother, we need some most on 
this side — like this. 

Sigurd. Where is Father? 

Olga. He has gone out with Torstein In the 
sledge to gather green boughs to make the house 
look like Christmas. 

Sigurd. It'll soon be Christmas, Mother. When 
can we light the candles? 

Olga. When Father comes home. Have we 
used up all the snow, Oswald ? 

Oswald. Yes, I will get some more. (Starts 
upstairs.) Oh ! (Draws back as he discovers Rus- 
TER, who has just entered and is standing on the 
landing. He is unkempt and his shabby, black coat 
is buttoned tip to his chin. His eyes are small and 
blurred and his dark hair stands out like a cloud 
about his head. But he is not zvholly unattractive. 
His features are well-formed and his black mustache 
is twirled at a proud angle. He carries his music 
pen and manuscript. His voice is cracked and 
harsh.) 

Olga. (Looking up) Why, Ruster! 

RusTER. (Shivering) I thought you might be 
having punch. My bones are frozen working up in 



LIGHTING OF THE CHRISTMAS TREE 13 

that cold room. It would talvc a taste of hell-fire to 
warm me up. (Drinking from his flask.) 

Olga. (Turning toward the boys — raising her 
hand as if to silence Ruster) The punch has not 
been made yet, Ruster. Children, have you forgot- 
ten your Christmas cookies? Halla will help you 
make them if you run out to her. 

Oswald. Oh, I know what I want to make. 

Sigurd. What, Oswald? — What? 

Oswald. I want a raisin in mine. (Pushing open 
the door.) Can I, Halla? 

(Exeunt to kitchen. Olga crosses to Ruster.J 

Olga. If you are cold, Ruster, why not stay 
here by the fire and copy your music? Is there 
much more to do ? 

Ruster. (Seating himself and arranging pages) 
Liljekrona says there is no hurry. When will he be 
home ? 

Olga. As soon as he has filled the sledge with 
boughs, for he knows we need him here on Christ- 
mas Eve. (She goes to the window. Sleighbells are 
heard.) There they are, coming up the drive. We 
must have some place to put the branches. (She 
spreads a cloth on the floor. Ruster steals a drink 
from his flask. The door opens. Enter Lilje- 
krona. He is a tall, finely erect man, clad in a heavy 
fur coat that is covered with snozv. As he takes off 
his cap, he discloses a mass of light hair brushed' 
back from an unusually high forehead. His face 
is at once sensitive and strong. He carries a load 
of boughs.) Well, what an armful you have ! 

Liljekrona. (Gaily) Tell the children I have 
brought home the whole forest for our Christmas. 

Olga. Put down your forest over here. Was 
it very cold ? 

Liljekrona. There has been a fine flurry all 



14 LIGHTING OF THE CHRISTMAS TREE 

morning, f Olga helps him off with- his coat.) But 
the fire feels good ! 

RusTER. This is the warmest place in the house. 

LiLjEKRONA. How is it going? (Looking over 
Ruster's shoulder.) You haven't forgotten how a 
page ought to look, have you, Ruster ? 

Ruster. No, I can copy, but I cannot play. I 
have almost forgotten the sound' of my flute. No- 
body v/ants a fiute-player nowadays ! They do not 
care for music any more in Varmland and they do 
not want to learn. 

LiLjEKRONA. Yes, Varmland is not like Ekeby 
when we knew it. 

Ruster. It's a pity we ever left there, Lilje- 
krona! We have never had such playing since — 
you Vvdth your violin and I with my flute. Old Tor- 
waldson waving his angry stick ! By Heaven, he 
called the souls out of us ! 

LiLjEKRONA. Yes, the violins sobbing — then the 
horns, the winds, the basses— each breaking over the 
other in thundering waves. 

Ruster. Holy Mother! — that was living! 

LiLjEKRONA. And from one patron off on the 
road to another, and along the way, what gay eve- 
nings in the tent and at the inn when a man was 
free from care ! 

Ruster. How you could play then ! Shall I for- 
get that night in Olaf's garden? You made your 
fiddle sing as though your heart were in tune with 
its strings. But now, Christ's blood ! you never play 
Hke that. 

Olga. He plays more beautifully now than he 
ever did at Ekeby. 

LiLjEKRONA. No, there is not so much time for 
practice here. 

Ruster. And the old spirit has gone out of you. 

LiLjEKRONA. I sometimjes think so myself. It is 
hard to settle down after a life of wanderini^-. 



LIGHTING OF THE CHRISTMAS TREE 15 

Soniethir.g wild keeps ci'yiiig in my soul, bidding me 
be off again. 

Olga. Why is not home the place for music, 
Liljekrona? Surely those who love you most care 
most to hear. I\Iust you seek your inspiration from 
strangers ? 

Liljekrona. No, Olga, you are more to me than 
a v^'orld of strangers. It is you alone v/no hold me 
here. 

RusTER. Yes — you have a warm fire and a full 
cellar to keep you at home, f Liljekrona shrugs 
and turns away impatiently.) But what about the 
man who has not mo::ey enough to fill his flask? 
(Bitterly.) My horse, and carriole, and fur coat — 
they're all gone ! (Drinks, then laughs boisterously.) 
But still I have friends — lots of friends in Varmland, 
and they're ahvays glad to see me and give me a 
cup of cheer ! (He drains his flask and zvipes his 
mustache with the hack of his hand. Liljekrona 
rises disgustedly and crosses the room.) 

Olga. (Pointedly) Have you more copying to 
do still, Ruster ? 

Ruster. (Blinking at her) The "Folksong" is 
almost finished. I v/as thinking, Liljekrona — ^that 
when that is done, there are two others you showed 
me yesterday, that would go w^ell with this. 

Liljekrona. It is better alone. 

Ruster. But those two shepherd songs. I took 
the book to my room. Wait till I bring it dov/n. 
(He rises unsteadily. Exit.) 

Olga. (Going to Liljekrona J Liljekrona, 
don't give him more copying, or v/e shall be obliged 
to keep him over Christmas. 

Liljekrona. He must be somewhere. 

Olga. Our Christmas is spoiled if he stays. He 
is so dirty and he drinks so. And think how bad it 
is for the children. 

Liljekrona. But he is an old friend. 



i6 LIGHTING OF THE CHRISTMAS TREE 

Olga. Yet on Christmas Eve — we have kept 
thinking how happy we should be, telling stories 
and dancing about the tree. And you would play 
our favorite tunes. (She looks ziustfuUv about the 
partly decorated room.) But now all the pleasure 
is gone if Ruster stays ! 

LiLjEKRONA. Formerly you were glad to see him. 

Olga. Yes — we all were. But not since he has 
become a drunkard. And, Liljekrona, I am 
afraid 

Liljekrona. Afraid of what, dear? 

Olga. (Impetuously) Let him go somewhere 
else for Christmas. 

Liljekrona. How can v/e send him away? It 
would be inhospitable. Nobody wants him any more 
than we do. 

Olga. But the children, Liljekrona. 

(Enter Ruster zuith book.) 
Ruster. Here it is. (Handing book to Lilje- 

KRONA.j 

Liljekrona. Yes, I remember. 

Ruster. Shall I copy them? 

Liljekrona. No — I can play these from the 
book. 

Ruster. 'This is a poor transcription. It should 
be written in D instead of F. 

Liljekrona. Well, I can transpose it. 

Ruster. I have not copied the words for the 
"Folksong." Do you want it done? 

Liljekrona. No, it v/ill do as it is. 

Ruster. Well then, it is finished. (Half-heart- 
edly.) I suppose I must be going. (Glances to- 
zvard the zvindozv.) 

Liljekrona. (Indifferently) You had better 
stay where you are over Christmas. 

Ruster. (Catching the note in Liljekrona's 



LIGHTING OF THE CHRISTMAS TREE 17 

voice, and with indignant pride.) What do you 
mean, Liljekrona, shall I stay here because I have 
nowhere else to go? Why, only think how they 
are standing and waiting for me in the big iron- 
works in the parish of Bro. The guest-room v/ill 
be already in order and the glass of welcome filled. 
I must hurry. I only do not know to whom I 
should go first. 

Liljekrona. Very well, you may go if you will. 

RusTER. (Emphatically) Yes, I must go—at 
once. 

(Enter Torstein with logs for the fire.) 

Olga. If you wish, Torstein will drive you down. 
Are the horses still harnessed, Torstein ? 

Torstein. Yes, Ma'am. 

Olga. Then bring the sledge around. 

Ruster. And bring it at once. I have only to 
get my treasures and I am ready. (Picks up his 
music pen and' exit upstairs.) 

Torstein. He's not going to stay over Christ- 
mas? 

Olga. You must hurry back, Torstein. The 
snow is getting deep. 

(Exit Torstein. Liljekrona looks over the music 
sheets on table, and takes money from his 
pocket.) 

Olga. You will slip in something for Christ- 
mas? 

Liljekrona. Of course. 

Olga. (Taking dozon fur coat and warming it) 
Will you lend him your big coat? Torstein can 
bring it back. (After a pause.) As long as he 
wishes to go himself, it is as v/ell to let him. 



i8 LIGHTING OF THE CHRISTMAS TREE 

(Enter Ruster zvith his belongings tied up in (t 
blue-striped cotton handkerchief, and his flute 
under his arm.) 

LiLjEKRONA. (Meeting him and giving him zvhat 
he has earned) That is always poor payment for 
art, Ruster, but it may serve you, somehov/. 

Ruster. (Dazedly) Yes. 

Olga. Will you put on this coat, Ruster? 
(Helping him into coat.) You must keep warm, 
and watch that your hands a:'m face are well cov- 
ered. And tell Torstein where to take you in Bro. 

Ruster. (Shaking himself together and going 
toward door) I'll be there in time for a glass of 
punch and the Christmas tree at Erickson's — or 
Oscar's — or 

fLiLjEKRONA opens the door for him and he goes 
out slowly.) 

Olga. (Calling after him) A happy Christmas 
to you ! 

Liljekrona. (Faintly) Good luck, Ruster. 
Ruster. (Dully, from zvithout) Good-bye. 

fLiLjEKRONA closes the door and they look out the 
windozv until the sleighbeUs jingle off. Olga 
turns back to the room.) 

Olga. Now as soon as the boughs are up, we 
shall be ready for our Chrisiinss tree. Don't you 
think some holly v/ould be nice for the table, Lilje- 
krona? (As Liljekrona does not answer, she 
stoops and picks tip sprigs of holly from the pile 
of branches, then goes to the kitchen door and calls.) 
Children, v/hat are you doing? Com^e and bring 
your play in here. (She arranges the holly in a 
brass bowl on the long table. Liljekrona begins 
to put the boi^ghs up over the door.) 



LIGHTING OF THE CHRISTMAS TREE 19 

(Enter Osv/ald, carrying with great care a board 
with some dough on it, and Sigurd running 
ahead ziith his fingers covered zvith dough.) 

Sigurd. (Running to Liljekronaj Father! 
See my fat dough fingers. 

LiLjEKRONA. What are you making, Sigurd? 

Oswald. Christmas things for Halla to bake= 

Sigurd. Then they v/ill be brown and we can 
eat them just like the round cookies. See, Mother. 

Oswald. Only these aren't round cookies, 
Mother. (Sits dozvn on the floor with the dough.) 

Sigurd. No. There is a Christmas tree. 

Oswald. And I made a star. 

Sigurd. And I'm going to m.ake (Runs and 

whispers to his mother.) 

Olga. a what, dear? 

Oswald. (Looking tip from the floor) A little 
Christ-Child we're going to make. 

Sigurd. AJittle bit of a baby Christ-Child. 

Olga. (Kissing his forehead) That will be a 
lovely Christmas task. 

Oswald. (Getting up and pulling at Lilje- 
krona, who yields) Look, Father! Look at my 
cookie! To-night I'll eat it for supper. 

Liljekrona. Yes. (Pause.) I wonder how 
many little boys will be eating their Christmas cook- 
ies to-night, and how many will be without a bite of 
Christmas dinner, hungry and cold. 

Oswald. Won't they have any Christmas din- 
ner, Father? 

Liljekrona. Some won't. (He turns hack and 
continues to put up boughs.) 

Sigurd. Why won't those little boys have any 
Christmas dinner, Mother? 

Olga. Father meant, dear, that some children 
are too poor to buy any. 

Oswald. Where are the poor children? 



20 LIGHTING OF THE CHRISTMAS TREE 

Olga. I'm afraid there are some in every vil- 
lage, Oswald. 

Sigurd. In our valley, Mother? 

Olga. Yes, dear, I'm afraid there are. 

Oswald. Then, Mother, if Sigurd and I made 
some good cookies, could v/e take them down to those 
poor children ? 

Olga. If only we knew just where we could 
find them, Oswald. It is hard sometimes to know 
where the lonely people are, and the hungry ones. 

LiLjEKRONA. And when they pass so close as to 
touch our sleeve on the way we do not see them, we 
do not stop them, but let them plod their path alone. 

Olga. (Stung by Liljekrona's remark) It is 
a good thought, Oswald. Take them out to Halla 
now, so she can bake them before to-morrow. 

Sigurd. I can't make a Christ-Child, Mother. 
(With a sob.) It doesn't look like anything. 

Oswald. (With a laugh) It looks like a star. 

Olga. (Rising) Let me see, dear. I think 
Mother would know what that was. Take it to 
Halla and she will bake it. Then wash those sticky 
hands. It is time to light the tree. (Exeunt Os- 
wald and Sigurd. Takes violin from the cabinet 
and gives it to Liljekrona.J You will play for us 
to dance? — one of the old polkas, Liljekrona. 

LiLjEKRONA. (Pettishly) My E string has 
snapped. 

Olga. Well, put on a new one. Quick, before 
the children come back. 

("Liljekrona goes slozvly upstairs with his violin. 
Olga ptdls out the tree from the corner and 
starts to light the candles zvith a taper. Enter 
Halla with a punch bowl and the glasses, which 
she places on the long fable. Oswald and Si- 
gurd follow, each carrying a plate of cakes.) 



LIGHTING OF THE CHRISTMAS TREE 21 

Oswald. Mother ! Are you lighting the tree in- 
stead of Father? 

Olga. Yes. Do you want to help? 

Oswald. Oh, yes. 

Sigurd. And I want to, too. 

Olga. You shall, dear. But first put the cakes 
on the table, (^Oswald and Sigurd deposit their 
cakes and run to the tree. Olga gives her taper to 
SiGURD.J Here, Sigurd, first the low ones — there. 
(Lighting another taper.) Now, Oswald. Can you 
do it, dear ? 

Oswald. You light those, Mother. (Pointing to 
higher ones.) 

Olga. There. 

Sigurd. The top one of all isn't lit. Mother. 

Olga. No, Father is the only one who can reach 
that. We'll have to leave it. Come, Halla. 

(Enter Liljekrona by the stairs without his violin.) 

Olga. We're all ready for alpolka. 

Liljekrona. I have no new string for my fiddle. 

Olga. But you can play on three strings. 

Liljekrona. I can remember no polkas. 

Olga. (Approaching him persuasively) Why, 
Liljekrona, can't you play anything? Sha'n't we 
be able to dance at all ? 

Liljekrona. Torstein is not back yet. He is 
the best dancer of all. Perhaps it was hard to find 
the house. (Goes to the windozv.) 

Olga. Weil then, we'll wait our dancing for 
Torstein, and have our punch and cakes while they 
are hot. 

Liljekrona. The sparrows are twittering about 
the window sill most miserably. Where is the pole 
with the sheaves for them? 

Olga. I did not think of it till now. Did you 
remember, Halla? 



22 LIGHTING OF THE CHRISTMAS TREE 

Halla. No, I didn't, t'oor little things ! 

LiLjEKRONA. How IS it that you forgot on this 
day, of all days? Do old customs mean nothing to 
you? Or is it the heartlessness of those who shut 
their eyes to the meaning of old beliefs ? At Ekeby 
no one ever forgot ! 

Olga. (Disturbed) No, my dear, we are not 
heartless. The sheaves shall be put out as soon as 
Torstein returns. Come, shall we have our punch 
and cakes? Children, are you hungry? 

Oswald. I am. 

Sigurd. I want a cookie from my plate. 

LiLjEKRONA. And there are no candles in the 
v/indows. Nothing is done as it used to be. (He 
seats himself on the zvooden bench,) 

Olga. Oh, why — why, I had intended to light 
the candles. (Goes to mantel.) Come, children, 
before you have your cookies will you help Mother? 
(She takes from the shelf above the fireplace two 
wooden frames, in each of zifhich is set a row of 
candles. She lights them and gives one to each of 
the boys.) Careful. Put them on the windowsills. 

Oswald. I want mine in this window. You put 
yours over there, Sigurd. 

Olga. Halla, take the punch to the table by the 
fire. COlga seats herself near Liljrkrona. j Come, 
children. ^Oswald and Sigurd come to her side.) 
Sigurd, do you know why v/e put candles in the 
windows on Christmas Eve? 

Oswald. So that people can see v/here we live! 

Olga. Yes — dear; and there is a story that the 
little Christ-Child goes about on Christmas Eve 
looking for a welcome. (She pours some punch for 
LiLjEKRONA, who IS looking intently at her.) 

Sigurd. And if he sees our lights, Mother, will 
he come to our house? 

Olga. Yes, dear, and when you hear him say: 



TING OF THE CHRISTMAS TREE 23 

"Behold I stand at the door and knock " (She 

passes glass of punch to Liljekrona J 

LiLjEKRONA. (Ignoring it, and meeting her 
glance with a steady gase) "And if any man hear 
my voice and will open tlie door, I will come in and 
sup with him, and he with me." Your candles are 
too late. The door is closed. The voice is gone. 
(Rises and exits slozvly to his room.) 

Oswald. (After a pause) Why did Father go 
av/ay, Mother? 

Halla. Is it anything the matter with the punch, 
Ma'am ? 

Olga. (Hesitating) No, Halla, it's not the 
purch — I think he's not — very happy 

Sigurd. Won't he come back, Mother? Who 
will tell us stories ? 

(Wild music is heard from Liljekrona's room. It 
rises and falls in passionate rushes and casts a 
spell over those zvho listen.) 

Olga. (Rising suddenly at the sound) He is 
playing. VVhy — he has not played like that since he 
came home. It is his great heart full of revolt from 
all that is small about us. "You thought to bind 
me," he is saying, "you thought to make me as small- 
minded as yourselves." Oh, I was wrong! I 
thought to shut out unhappiness, but with it I have 
shut out love. To-morrow he will be gone, if God 
does not work a miracle in the night. (She sinks 
into her chair and covers her face with her hands. 
The boys sit quite still and look zvith azve at their 
mother. Halla wrings her hands in a half-under- 
standing and miserable way.) 

(Sleighbells are heard. Halla goes to the window.) 



24 LIGHTING OF THE CHRISTIMAS TREE 

Halla. It must be Torsteiri con.e back again at 
last. No, there are two of them. And yet that's 
Torstein. He's getting out. He's helping the other. 
(In a tone of horror.) Why, it must be Ruster 
with him ! 

Olga. (Until now heedless, looking and drying 
her eyes) Ruster, did you say, Halla? Has Rus- 
ter come back -again? (She approaches the window 
and looks out.) Surely it is he ! (She opens the 
door. The two men enter. They are covered zvith 
snow, Torstein is blue with the cold, and Ruster 
seems half-frozen. His mustache hangs dozvn over 
his month. He leans on Torstein. The children 
jump up from the floor.) Ruster, you are welcome 
back to Lofdala. (She loosens his coat and leads 
him, with Torstein's help, to the fire. Halla drazvs 
up the armchair into which Ruster sinks zvcakly. 
The children zvatch.) 

Torstein. (Apologetically) I had to bring him 
back, Ma'am. At every house they were either go- 
ing away over Christmas, or were crowded with 
company. They didn't even ask him to get out of 
the sledge. And the snow was so thick I thought 
we'd both be frozen. 

Olga. You did v/ell to bring him, Torstein. 
(She rubs Ruster's hands to give them life. Tor- 
stein stands bv the fire.) Halla, is the punch still 
hot? 

Halla. Yes, Ma'am. 

Olga. Then pour out a glass. It will warm him. 

f Halla pours out tzvo glasses. .One she gives to 
Torstein, the other Olga holds to Ruster's 
lips.) 

Torstein. (Smacking his lips) Um ! That puts 
life into you ! (Sets down his glass.) Well, I must 



LIGHTING OF THE CHRISTMAS TREE 25 
drive the horses around, or they'll be drifted in. 

(Exit by front door. Oswald and Sigurd zuatch 
from the zvindozv.) 

RuSTER. (Gaining consciousness and looking 
about with a sad, puzded expression) How did I 
come here again? It is strange, all strange to be in 

Liljekrona's house — I thought (Abruptly.) 

Why are you so kind to me? I am only an old 
broken-down instrument . . . 

Olga. We are glad to see you, Ruster ! And I 
want you to think — you have never been away. Let 
m.e have your wet coat. (Helps him out of it.) 
Halla will dry it in the kitchen. 

(Exit Halla with coat.) 

Olga. (Refilling his glass and putting it on the 
table by him) Are you warmer now? 

Ruster. Yes — quite warm, thank you. 

Oswald. (Offering the cookie he has been hold- 
ing) Here's a cookie. ("Sigurd, who is about to eat 
the last fragment of his, stops and holds it out to 
Ruster.) 

Ruster. (Starting up suddenly) I can't stay 
here ! I am of no use — here — or anywhere ! 

Olga. (Putting a hand on his arm) You are 
mistaken, Ruster. You may help, if you will. I 
must attend to setting the table for dinner and the 
children will be quite forsaken. Will you look after 
them a little ? 

Ruster. (Rising, alarmed) I can't do that! — 
Why, I— they 

(Exit Olga, resolutely. Ruster looks after her, 
then turns, and seeing his glass of punch on the 
table, starts to pick it up. He encounters the 



26 LIGHTING OF THE CHRISTMAS TREE 

steady gaze of the children, restrains himself 
and fimibles in his pocket. He draws out his 
flute and blows a note on it. The boys come 
closer.) 

Oswald. How do you do that? ("Ruster does 
not answer, but blozvs again.) 

Sigurd. Why do you lift your fingers? 

RusTER. To make the notes. 

Sigurd. Let me try ! ("Ruster places his little 
fingers over two of the stops. Sigurd blows, but no 
sound comes. Oswald laughs.) 

Oswald. Let me try ! (^Ruster shows him also 
— but still no tone.) How do you do it? (He tries 
again.) 

RusTER. I blow in here. (Shozving them.) At^d 
I keep the holes covered with my fingers. When I 
want to make a note, I lift uo a finger, like this. 
(He blows.) 

Sigurd. Blow another. 

RusTER. (Blows another. Then both over again) 
This is A and this is B. 

Oswald. A and B. You can't play them. 
They're letters. 

RusTER. Yes, and in music they are the names 
of the notes. (Takes out a score and zvith a crayon 
makes a feiv notes.) This is the way they look. 

Sigurd. Let me see. 

Oswald. No! That's not right! That's not 
what's in our storybook ! See — I'll show you. (He 
runs to music cabinet, and from lower cupboard 
pulls out a battered cloth book.) 

RusTER. (To SigurdJ Can this boy spell his 
name? 

Sigurd. Yes— S I G U R D ! 
Oswald. See — look at our book. There isn't 
any A and B like that! That is A and that is B. 
(Pointing.) 



27 



RusTER. Can you read that? 
Oswald. Yes, I can read it. 



(Enter Olga with tablecloth, glasses and silver. 
She smiles at the group and quietly begins to 
arrange the table.) 

Oswald. (Reading) "Far away, in the deep 
forest there once grew " 

Both Children. "A pretty Fir-Tree. The sun 
shone full upon him, the breeze played freely around 

him, and in the n — n " (Looking up question- 

ingly at Ruster.J 

RusTER. "Neigh-bor-hood." 

Oswald. "Neighborhood grew many Fir-Trees." 

Both Children. "Some older, some younger." 

Oswald. (Turning from the book) Look — I'll 
draw you a fir-tree. (He draws on Ruster's mttsic 
score — spreading it on the floor.) 

Sigurd. (Slowly) "But the little Fir-Tree was 
not happy ; he was always long — longing to be tall ; 
he th— th " 

fRusTER, who during the la.^t part of the reading has 
been paying no attention, suddenly covers his 
face with his hands. His shoulders shake a lit- 
tle. Sigurd looks up frightened. Olga crosses 
quickly to him.) 

Olga. (Gently) Ruster— Ruster 1 Don't feel 
badly! 

Ruster. (Sobbing' softly) Yes— I am of no use 
any more. 

Olga. (Sympathetically) I know-— I know. 
You cannot make a living by your music and you 
are destroying yourself with brandy. You have 
been turned away from every door where you have 
knocked. But, Ruster 



28 LIGHTING OF THE CHRISTMAS TREE 

RusTER. Yes, I am worn out. I ought to be 
thrown away! Nobody needs me. 

Olga. But don't you see that to be with the 
children, as to-night, would be something for you? 
If you would teach children you would be welcomed 
everywhere. Look at them, Ruster! (She places 
the boys in front of him.) Look at them ! 

Ruster. (Blinking) I dare not ! 

Olga. (Laughing joyously) Then you must 
accustom yourself to them, Ruster! Perhaps you 
could help them with their reading. They need a 
schoolmaster! (Turning to children triumphantly.) 
How would you like that, children? 

(Enter Liljekrona, violin under his arm. Rus- 
ter remains motionless by the fireplace with 
bowed head.) 

Liljekrona. Why are you laughing, Olga, what 
is it? 

Olga. Nothing — but that Ruster has come 
again ! 

Liljekrona. (Perplexed) Ruster here again? 

Olga. (Beaming) Yes, and he is going to stay 
with us to teach our little boys. 

Liljekrona. Ruster! (With amazement) You 
have asked himi to teach ? 

Olga. Yes, Oswald and Sigurd. He has been 
helping them this afternoon. 

Liljekrona. But — has he promised to give 
up ? 

Olga. He has promised nothing. But there is 
much about which he must be careful v/hen he has to 
look little children in the eyes every day. 

Liljekrona. You're sure he can do it? 

Olga. (Not heeding) If it had not been Christ- 
mas, perhaps I should not have ventured; but if our 
Lord dared to place His own son among us sinners, 



LIGHTING OF THE CHRISTMAS TREE 29 

surely we can dare to let our children try to save a 
human soul. 

('Liljekrona's face tzvitches and twists. He gently 
kisses his wife's hand as if asking forgiveness.) 

Liljeke:ona. The children must come and kiss 
their Mother's hand! (They do so, though not 
just knozving zvJiy.) 

Olga. (Going to Ruster and holding out her 
hand) Ruster, it is you who have made our Christ- 
mas happy. (He kisses her hand.) 

CURTAIN 

(The lifted curtain reveals the whole family gath^ 
ered about the tree, Halla, Torstein and all, 
zvhile Liljekrona lights the topmost candle.) 



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THE STORE 

A play in 1 act by Elizabeth Kellam. 3 males. 3 fe- 
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A cleverly drawn picture of six human beings, the 
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In the Vassar Series of Plays with notes on staging 
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MASKS AND MEN 

Play in 1 act by Sarah Humason. 8 males (4 soldiers), 

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In the Vassar Series of Plays with notes on costumes 
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Drama in 1 act by Margaret Searle. 3 males, 2 females. 
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